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Full text of "Movable stationery"

M01 




STATIONERY 



VOLUME 7 
NUMBER 2 

MAY 

1999 



Interfolds 

Marilyn R. Rosenberg 
Cortlandt Manor, N.Y. 

"Interfolds" is my own word both for the process of 
two parts folding in on each other and for my concept of 
the infolding of all elements in artists' books and 
booksworks. There are images that reappear in the same 
or in altered states in may works. Even with the 
reoccurring images, in every case the work itself tells its 
own story. Everything in each work is there for a reason, 
although at first glance something may appear to be there 
for decorative reasons alone. This is almost never true. 
Sizes are for the pieces closed. Some open to fill a table 
top. All of the one-of-a-kind and most of the edition 
works are signed and numbered. 

Istoria Leonardo: What happened to Leonardo? 

One-of-a-kind, 1991. 

Hand sewn binding, layers, collage. 

8'/2 inches high x 554 inches wide, folds into a hard cover 

in a folder. 

"A retrace and recast- 
the reticular responsive 
recounting recreation of 
the re-invention of 
Leonardo Da Vinci." A 
quote from the 
introduction of this 
visual narrative, of more 
than 65 layered and 
interfolded pages. A 
variety of papers and 
media including water, 
color, collage, drawing 
and cord, images, and 
reflective Mylar. 
Computer symbols act as 
secret code revealed at the end. A quote from the 
conclusion: "L.'s eye: Inner Eye (fantasy, 
imagination/Mirror Eye sought, noticed, or osmotic 
observations of what is around him: animate and 
inanimate objects, like a precocious child with a 
clockwork). His Inner Eye absorbs the ideas of the society 
at large, the thinking, behavior or expectations. His Inner 
Eye absorbs the traditions, his hand practices the tricks 




of his trade: L. is sometimes accepting and analyzing, 
sometimes improving or improvising, or at other times 
rejecting, feeling ambivalent or not interested. Purpose: 
L. seeks information, details to feed and supplement both 
his Inner and Mirror Eyes=his personal mimetic vision. 
Used among others: to feed his obsessive curiosity and 
his (left) hand; to leave something of himself for those 
after him, to deal with his own mortality (see his notes). 
Exhibitions: Pratt Institute Manhattan Gallery; then 
Schafler Gallery, Pratt Institute, Brooklyn, N.Y. 

It was twelve days before my 7 th birthday, and if my 
grandparents had not left Russia at the turn of the 
century, I could have there, grown up there, died there, 
near Kiev, at Babi Yar, on September 29 or 30, 1941. As 
I become the older generation, I remember. I feel I must 
tell about the Holocaust. Although I am part of 
everything I do, I rarely do work with clear Jewish 
themes, this is an exception. 
Remember Baba Yar, ("The Ravine of Women") 
One-of-a-kind, 1997. 
Herstory-History Series. 

Soft cover, closed approximate IVA inches wide by 15 
inches wide, in a box book jacket. It unfolds to stand 5 
feet wide. 

It has two scanned photo images of murdered women 
from German photo reproductions, 34 cut-out/drawing 
facsimiles of Jewish (star) badges, and 3 cut-outs 
(drawings) of hands (bones). The paperhanger's scissor 
is here. Fine, 
rough papers are 
covered with 
miscellaneous 
media including 
watercolor , 
gauche, graphite, 
color pencils, 
photocopy, 
collage, plus cut 
out areas are in a 
hard black book jacket. 

Made for "Women of the Book: Jewish Artist, Jewish 
Themes," traveling until 2000. 1997 Women of the 
Book: Jewish Artists, Jewish Themes, Finegood Art 
Gallery, West Valley, CA. Opens February 4, 1999 
Kutztown University, Sharadin Art Gallery, 




The Movable Book Society 

ISSN: 1097-1270 
Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. The annual 
membership fee for The Society is $15.00. For more 
information contact Ann Montanaro, The Movable Book 
Society, P.O. Box 1 1654, New Brunswick, New Jersey 
08906. 

Daytime telephone: 732-445-5896 
Evening telephone: 732-247-6071 
e-mail: montanar@rci.rutgers.edu 
Fax: 732-445-5888 

The deadline for the next issue is August 15. 



Pennsylvania. Web catalog refer to bio and also image 
page 5, <http://colophon.com/gallery/womenofthe book> 
Web essay: Hoffberg, Judith. Other Voices: The (E) 
Journal of cultural criticism, volume 1, #2, University of 
PA, College of Arts & Sciences, "Women of the Book...," 
<http://dept.english.upenn.edU/~ov/l.2/jhoffberg/ 
bookwomen.html>. See Kushner, Sherrill, Lilith, 23, No. 
1 , Spring, 1 998, table of contents, page 4 (photo of 
bookwork). 

Scalare. 

Edition of 10, 1993, from the 1990 master/original. 

Closed TA inches wide by 10% inches high. 

The key to female 
strength is in the binding, 
in helping each other 
climb. Richo color printed 
pages unfold to build into 
many walls with drawing 
images of ladders. Hand 
sewn binding, actual key, 
strong color fills the 

pages, and computer-generated angel fish swim 

everywhere, hand drawn non-clothed female figures 

climb. Scissors are around. 

See this piece at : <http://www.ets.uidaho.edu/ 

~bookarts/gallery.htm> 

The next two works are part of the Tear/Tier- 
Tier/Tear series. In every case some of the color, and it 
is meant to, rubs off on to the turner of the pages. The 





viewer reader is physically involved in the emotion of the 
work. Yet this work on exhibition is either on the wall or 
in a case and can't be touched. 

Tier Tear: Dry Bones & Roses Duo. 

One-of-a-kind, 1996. 

Closed about 1 1 inches wide by 1 5 inches high. Some 

pages unfold to five lengths and three widths. 

But in some ways 
this piece also falls into 
the Herstory/History 
Series as well. This 
work is both serious 
and humorous. The 
roses are black, and 
white and black 
shadow skeletons 
dance. Other bones are 
like flowers and leaves 
are ghosts. Torn and 
tied acid-free black papers in black hard covers, spiral 
bound. Miscellaneous media includes tears of string and 
beads, a music-making device, water color and gauche, 
water base silk screen printing inks, color and black 
graphite, color pencils and oil pastels. There are 
computer images of Rose fish matrix printed on red 
paper; appropriate fish often shim into my works. Images 
of roses and bones are stenciled, drawings of leaves and 
calligraphic marks, and more drawings of bones fill 
interfolded pages. A black veil/scarf and silk roses are 
with the bookwork in its dust jacket box. Small fabric 
roses and plastic skulls are entwined into the spiral 
binding. This work is dedicated, in memorial, to the two 
"roses" whose names I carry. Both had an outstanding 
sense of humor. 

Tier Spare Tear. 

One-of-a-kind, 1996. 

Opens to fill 18 by 24 inches, closed 5'/z inches wide by 

TA inches high by 2'/5 inches deep. 

Plastic ring binder, 
white and black filled 
and fold-out pages to 
become a small city, 
loose sections and glass 
beads. Created with 
spare materials from 
above. 

Now on tour in the UK until 2001 with the exhibition 
Changing Pages, starting at Collins Gallery, University 
of Strathclyde, Glasgow. 

Continued on page 8 



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Birth of a Pop-up 

UlfStahmer 

Toronto, Ontario Canada 

bovine.designs@sympatico.ca 

While Christmas shopping in 1985, I found 
myself in my favorite shopping destination, a book 
store. Near the front where publishers' overstocks 
are always prominently displayed I picked up my 
first pop-up book purchase, The Royal Family Pop- 
up Book} Something compelled me to buy it and 
show it to my father. I believe that I paid $3 for it. 
This purchase transformed my life. 

That night after dinner I pulled the book out and 
showed it to my parents. We laughed and enjoyed 
ourselves watching the Queen wave and Chuck and 
Di kiss. My mother mentioned that she had recently 
purchased some pop-up books for my nephew (then 
only 2) for Christmas and pulled out the first two 
National Geographic titles 2 . I was hooked. My 
nephew never received those books, nor any others of 
the 20-volume set published over the next 10 years. 
That night I decided that I would publish a pop-up 
book one day. 

Over the next few 
years, my collection 
grew slowly as I only 
had enough money to 
buy overstocked or 
deleted books. In 1988, 
I finished my mech- 
anical engineering 
degree and started a full 
time job as an engineer 
designing brakes for 
trains. Four years later, 
in 1992, I took the first 
step in pursuing my 
dream and negotiated a part-time work week for one 
year (not an easy task for an engineer) and started 
my press, Bovine Designs. 

I quickly learned that having a book published 
was not as simple as it first appeared. About that 
time, I became involved with a group of handmade 
bookmakers who celebrated the bookmaking arts in 
an annual late April festival called Wayzgoose. So I 
altered my ambitions slightly and embarked on the 
journey of self-publishing an "artist made pop-up 
book". But first, I had to learn the art of 
printmaking. 

Several years earlier I had taken an interest in 
printmaking and so had taken a course in etching I 
discovered that etching does not lend itself very 




easily to bookmaking because it is a very labor 
intensive form of printing. Historically, book printers 
used the form of printing called relief printing often 
done on a letterpress. Many of the printers at the 
Wayzgoose festival had their own presses and the 
letterpress of choice was a Vandercook. So I 
purchased one. 

Over the next few years I taught myself 
letterpress printing. It was often frustrating and 
messy. I spent many hours in the basement fiddling 
with adjustment screws trying to find out what they 
did and wondering why my inking was so 
inconsistent and heavy that it took weeks for the ink 
to dry. I learned a lot by printing various cards, 
pictures and wedding invitations (for several friends 
and also my own). My pop-up projects, however, 
were all hand cut and watercolored. One of the most 
exciting things I found out during this time was that 
die cutting is possible on a letterpress. This was what 
I needed to learn to realize my dream. It took some 
time, but I managed to find some used equipment to 
make dies for die cutting. Five years after I started 
my press and 12 years after I made up my mind to 
publish a pop-up book I finally had all the tools that 
I needed to publish my book (or so I thought). 

My wife, an actress, had been working out of 
town much of the summer of 1997 and I had spent 
most weekends visiting her and weeknights trying to 
settle in to our new home when in September we 
found out that she was pregnant. I now had a 
concrete deadline: April 1998 or my book would be 
further delayed. And the press was still in pieces in 
the dining room of our new home! 

The idea for the book was based on a whimsical 
poem that I had written in my early teens about a 
child wondering what we might be like if we didn't 
have feet for transportation. I had recently rewritten 
the text to suit the format for a six-spread pop-up. 
Now I sat down and started the book design. My first 
task was to determine the book's size. I wanted to 
print the entire book on two sheets, one for the cover 
and one for the remainder of the book including all 
pop-ups. This would reduce complexity and cost 
because each sheet requires a separate printing plate 
per color printed and a cutting die. In other words, 
all 6 spreads and the pop-ups would only require 4 
printing plates and one die if I made my book 3" x 
4" based on the press bed size of 12" x 18". If the 
book size increased 8 plates and 2 dies or more 
would be required, hence, my costs would increase 
substantially. 

This size of book suited me well because it was 
very close to the size of the nice little pop-ups by 



Babette Cole 3 and Mick Inkpen. 4 I had also found 
that relatively simple pop-ups were very effective in 
a small format and often lost their strength with 
increased size. Because of all the unknowns I was 
facing I decided on the small format to minimize the 
complexity of the task. 

Now that the book size was determined I 
proceeded in designing the pop-ups by making 
pencil sketches of each of the spreads and deciding 
on the pop-up action. Then I engineered the pop-ups. 
My collection of over 300 pop-up books helped 
substantially. Once the pop-ups were designed, I 
traced all the parts and laid them out on the sheet. 
This was not as simple as it sounds. Two thirds of 
the 12" x 18" was reserved for the 6 pages of the 
book. That left a 4" x 18" space for all the pop-up 
pieces (see book layout below). Several modifications 
had to be made to the pop-ups for all the pieces to fit. 
I scanned the layout into my Mac (an old Hci) and 
converted the scan into an Adobe Illustrator file that 
could be plotted at full scale. The pen plotter at my 
work proved to be a wonderful asset. After plotting, I 
cut and pasted the book together. It took 6 iterations 
to finally come up with the pop-up action that I was 
satisfied with. 



EW 




By mid December my deadline was approaching 
fast. The birth of our child and the book arts festival, 
seemed ominous! I had been a participant since 
1992, but had never shown an actual book so having 
a real book meant a lot to me. Then, just before 
Christmas, the festival director called and asked me 
to design and print the 20 th Anniversary publicity 
poster. This was an honor I could not refuse. 
However 500 posters were required by late February 
and the submission for the annual printers anthology 
(115 copies) was due one week later. The book 
festival just happened to be on the same weekend our 
child was due. My printing plate was packed! With 
many sleepless nights over the next 2 months I 
managed to complete the poster and the anthology 



submission and squeeze in enough time for the book 
illustration in as well. 

For this task I scanned my pencil sketches into 
the computer and used Adobe Illustrator to create the 
final art. Having never used a computer to illustrate 
before, it proved to be a huge learning experience. 
Color separations, spot colors, over-printing, these 
were but a few of the things that I learned. In late 
March armed with my book on a computer disk I 
went to a service bureau and had photographic film 
made. 

I used the full size negative film image of every 
color to be printed to make the printing plates. One 
of my friends who has a beautiful fine art printing 
studio let me use his recently acquired plate making 
equipment which was just barely large enough to 
make the plates. As a result, my registration marks 
(used to align the colors when printing) on the edges 
of the plates were quite washed out. This posed some 
set-up challenges during the printing process. 

Other than the registration of the colors, the 
printing of the book went quite well. I learned that 
different colors of inks can behave quite differently 
and that the moisture content of the paper and the 
ambient room temperature also affect the printing 
process. When I placed the die in the press to die cut 
the printed sheets, I was alarmed to discover that the 
diameter of the paper roller on my press played such 
a critical role in alignment. A 0.010" (4 sheets of 
plain bond paper) difference in packing thickness on 
the roller resulted in a misalignment of over 0.030" 
at the end of the page (a gap big enough for an 
airplane to pass through for our eyes). I had not 
considered this source of alignment error and had to 
be very creative in my set up to successfully die cut 
the pages with proper alignment without damaging 
my press with the sharp steel edges of the die. 



,'JM 






I assembled the first 
copy of Foot for 
Thought on April 19, 
1998 which happened 
to be my 34 th birthday. 
On the festival day with 
1 1 books fully 

assembled, my wife and 
I were packed and ready 
to go when she went 
into labor. Need-less to 
say we never made it, 
but we did get the best 
gift of all: our 81b 6oz son whom we named Jasper, 
in part after Jasper Johns, one of my favorite artists. 




A Pop-Up Concept 



The book production in the past year has been 
slower than I have wanted, but I have no regrets. I 
am working on several sequels to my first book 
(about hands, careers and where babies come from) 
and also on two books aimed at a more adult market. 
For more information, please visit my web site at: 
" http://w-wAv3.svmpatico.ca/bovine.designs " I have 
an extensive listing of pop-up related sites on my 
links page. Let me know if there are some that I 
should add. I would be happy to hear from you. 

Foot for Thought is currently only available through 
my press: Bovine Designs, 98 Kenwood Avenue, 
Toronto, Ontario, M6C 2S2 Canada. The price is 
CANS25 plus $2 s&h (money orders only please). 
There are 206 signed and numbered books in this 
first edition. 



'Bounty, 1994. Engineer: Vic Duppa Whyte. 
'Hide and Seek and Amazing Monkeys National 
Geographic, 1995. Engineers: James Roger Diaz, 
John Strejan and Rodger Smith. 
3 * Ponies and Dogs and Fish and Cats Fenn 
Publishing, 1995. Engineer: Bruce Reifel. 
^Crocodile and This Troll that Troll and The very 
good Dinosaur and Anything Cuddly will Do 
Bedrock Press, 1993. Engineer: Dennis K. Meyer. 



Strutting Our Stuff"! 

Ellen G.K. Rubin 
Scarsdale, New York 

It is with great pleasure that the Movable Book 
Society announces an exhibition of pop-up and 
movable books now in the planning stage. Ann 
Montanaro, Robert Sabuda, and Ellen G.K. Rubin 
are co-curators for an upcoming exhibition entitled, 
"Brooklyn Pops-Up! The Art of the Movable Book" 
to be held at The Brooklyn Public Library, New York 
City beginning September 2000. The show is a 
collaboration between The Brooklyn Public Library 
and the Movable Book Society. The focus will be to 
present the history as well as artistry of the movable 
book. Commercial books will be punctuated by 
artists' books, about 100 in all. 

The Brooklyn Public Library is the nation's 
fifth largest library system. The Central Library on 
Grand Army Plaza, a WPA-era landmark building, 
has over 45,000 visitors a week. The exhibition will 
remain for about 3 months at the Central Library 
before a modified version travels around to 58other 



Brooklyn library branches. Over a million people are 
projected to attend the exhibition. 

One of the more exciting ideas in production is 
a pop-up catalog, designed by Robert Sabuda. In 
keeping with its Brooklyn host, 8 pop-ups of 
Brooklyn landmarks, from Coney Island to the egg 
cream, are being prepared by some of the best known 
paper engineers working today. They are: Chuck 
Murphy, Biruta Akerbergs Hansen. Bruce Foster. 
Ken Wilson-Maxx, Kees Moerbeek, Carla Dijs, Iain 
Smyth, David Carter, Tor Lokvig, and Robert 
Sabuda. There has never been a pop-up book of 
Brooklyn nor a collaborative effort of paper 
engineers. Other ideas in the works are illustrative 
hand-outs of pop-ups for home assembly and a 
web-site. 

Needless to say we are all giddy with excite- 
ment. At this time, we are reviewing books to be 
included. The task of choosing from among 
thousands of worthy and representative titles is 
awesome. There will be five overall categories 
reflecting the library's collection. In each category. 
we will attempt to have the widest historical span 
Books in many languages will be used reflecting the 
great diversity of Brooklyn's population. 

We will keep you posted with information If any 
collectors have pop-up books pre-dating 1850 they 
are willing to loan to the exhibition, please let us 
know as soon as possible. The earlier its publication 
date, the better. This exhibition will allow us to show 
the world pop-up and movable books as historical 
documents and works of art. Please contact Ann 
Montanaro. 

* ******************** 

Catalogs Received 

Aleph-Bet Books. Catalogue 60. 218 Waters Edge. 
Valley Cottage, NY 10989 Phone: 914-268-7410 
Fax: 914-268-5942. Email: 
alephbet@ix.netcom.com. http://wvwv.alephbet.com 

Cattermole 20* Century Children's Books. Catalog 
30. 9880 Fairmount Road. Newbury. Ohio 44065 
440-338-3253. Email: books@cattermole.com 
Http://www.cattermole.com. 

Unicorn Books. Pop-ups Catalogue 3 and Catalogue 
89. 56 Rowlands Ave., Hatch End. Pinner, HA5 
4BP, England. Phone:0181-420-1091. Fax: 0181- 
428-0125. http://www.unicornbooks.co.uk. 




Van der Meer Publishing 

Theo Gielen 
The Netherlands 

Two and a half years ago, Ron van der Meer started 
to build up his packaging activities with the professional 
marketing help of his brother Guus. The firm, first 
named PHPC (Pure Health Publishing Company), grew 
in an explosive way. Since their start they have sold 
three and a half million copies of Ron's books 
worldwide. 

Meanwhile, the brothers prepared a next step that 
recently has been realized: they are no longer trading as 
just packagers but have also founded a new publishing 
house — Van der Meer Publishing. It is an independent 
company, publishing their own books in over twelve 
countries to start with the 1 999 titles. 

The contracts for the 
earlier titles as entered 
into with the traditional 
publishers of Ron's books 
will be respected. But the 
new titles - and titles 
coming free after the 
expiration of existing 
contracts - will be published in the future exclusively by 
Van der Meer Publishing. Worldwide the books will be 
recognizable from the two pointy red shoes on the spines. 
Ron always wears the red shoes (the only eccentric trait 
of an otherwise fully normal person) and he has now 
made them his logo, trademarked and registered, as he 
did with the name Van der Meer. 

The new firm has two offices: Van der Meer 
Resources is set up in London where Ron has lived for 
twenty- five years and from where over eighteen million 
copies of his books have sold worldwide since his first 
pop-up book. Monster Island, came on the market in 
1981. This office has eleven workers developing new 
products under his leadership and realizing the ideas of 
the creative brain of Ron himself. One of the people 
working with Ron 
there, as an example 
- to show the quality 
of his staff- is Mark 
Hiner, the paper 
engineer known to 
the members of the 
Society from his 
books Paper 
engineering for pop- 
up books and cards. 



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This is the book Robert Sabuda considered a classic in 

his review in Movable Stationery (August 1 998), asking 

for the sequel he apparently didn't know about, Up-pops: 

paper engineering with elastic bands 

(0-906212-79-0). 

Both books were published by Tarquin Publications from 

the United Kingdom. 

Van der Meer Resources will also work for freelance 
paper engineers such as Keith Mosley, whose most recent 
titles have already been done by them, and Kees 
Moerbeek whose coming book will be out next fall. The 
first Christmas, another triangle one, a box opening at 
last in a wonderful Christmas creche to display on your 
mantle next Christmas. 

The other office is established in Amsterdam and 
contains the publishing, marketing and sales 
departments, headed by Ron's youngest brother Guus van 
der Meer as the managing director. This continental 
office now has six workers on the list. The distance 
between London and Amsterdam. Guus told us, isn't 
seen as a problem at all since almost everything has been 
digitalized. Besides, Ron is living near London 
Heathrow, an hour by plane from the Amsterdam airport, 
Schiphol, which is near where Van der Meer Publishing 
is situated. And finally the brothers have every day a 
half-hour contact by picture-telephone. He also told that 
the publishing house, now having thirty produced titles 
in stock, will publish twenty new products yearly (pop-up 
stationery included). There are also two some hundred 
titles on the backlist to fall back upon. 

Public relations and marketing director, Mr. Ruud 
Hiensch Jr., told us enthusiastically how great their web 
site will be after the upgrading now in execution: 
movable pictures will enable to turn over the pages of 
many Van der Meer titles and show the unfolding of the 
spreads. Wait and see, he said, just enter 
http ://www. PHPC . com . 



He was also responsible at 
this year's Frankfurt Book 
Fair for the awarding of the 
Van der Meer Trophy, a 
sculpture of two big red 
pointy shoes on a stand, 
granted to the person who 
takes most copies of one Van 
der Meer title that year. 



The first one, given in 1997, went to Mr. Caplan from 
Reading's Fun for buying 115,000 copies of John 




Strejan's / love to eat bugs. This year's went to Mr. 
Konemann from Konemann Verlag in Cologne, taking 
300,000 copies of each of the three parts of Mathsmaster 
3+ and its two sequels for 5+ and 7+, even though there 
was nothing at all to be seen from the pack for the over 
seven year olds! To be honest, Mr. Konemann also 
bought with these 900,000 copies the exclusive 
publishing rights of these packs for Europe and will 
bring them in six languages (English, French, German, 
Spanish, Italian and Dutch). When in the future will 
these packs ever be rare...? 

Finally we had a short talk with Mr. Chris de Groot, 
the production and sales manager. The firm is intending, 
he said, to centralize the exploitation of Ron's art. That 
is the reason why all existing contracts will expire and 
why there will be in the future only contracts for 
distribution. Until now such distribution contracts have 
been made with Abbeville Press (for U.S. and Canada), 
Tango Books (for U.K. and Ireland), Flammarion 
(France), and Ediciones B (Spain); for Germany, Italy 
and Brazil there weren't yet names of the distributors 
available for publication. 

Mr. de Groot gave us also figures for the sales of the 
most recent title. Since its publication at the end of 1 997, 
there have already been sold 200,000 copies of the 
Architecture pack\ 

For the months to come there will be first the 
Formula I pack, to be presented at the beginning of the 
new racing season in April. Then will follow the 
Paranormal pack Ron did with the well-known 
paranormal artist Uri Geller. Mr. Geller will do a lot of 
publicity for this book. Later in the year there will be the 
Holland pack. 

We wish Van der Meer Publishing good luck and 
hope to see a lot more of these marvelous pop-up books 
as Ron made already so many. 

For more information see the mentioned web site or 
contact Van der Meer Publishing, Ch. van Montpen- 
sierlaan 65, 1 1 81 RP Amstelveen, telephone (3 1) 206 40 
16 70, fax (31) 204 45 04 78, or e-mail popup 
@PHPC.com. (They have a beautiful catalog!) 



Dear MBS Friends: 

In the coming months, I'll be participating in a very 
special and powerful event to help fight in the battle 
against AIDS. 

In September I'll take three days out of my life to ride 
a bicycle almost 300 miles over grueling terrain from 
Boston to New York City with over 3,000 other people in 
an event called Boston-New York AIDS Ride 5. I'm 
riding to raise money for two not-for-profit organizations 
in New York. Together we hope to raise more than $6 
million for people living with AIDS and important AIDS 
prevention programs in Boston and New York. 

I've agreed to raise at least $1,700 in pledges between 
now and the beginning of the Ride on September 16 th . 1 
need your help. Would you please make a pledge to help 
me meet my goal? I'm hoping you can be a generous as 
possible to help me in the fight against AIDS. Please 
keep in mind how far I'm riding, the commitment I've 
made, and how long I'll have to train for this event! 
Make your check out to "Boston-New York AIDS Ride 
5." If you have agreed to pledge, it is very important that 
you include my name and my rider #3865 (very lucky 
numbers for me since I was born on 3/8/65!) at the 
bottom of the check, then mail to: 

Robert Sabuda- Rider #3865 

c/o Boston-New York AIDS Ride 5 

155 West 72 nd St. 

New York, New York 10023 

Your contribution to my effort is 100% tax deductible 
and all pledges must be from a U.S. bank in U.S. funds. 

I'll bring my digital camera on the journey so that I 
can share my Ride experience with all of you in an 
upcoming issue of Movable Stationery. Thank you in 
advance for your generosity. It means a great deal to me! 

Robert Sabuda 



continued from page 2 

A Labyrinthine Adventure. 

One-of-a-kind, 1990. 

Box cover 10 inches high by 12'/2 inches wide by 214 

inches deep. 

A new adaptation of the old story. A female Don 
Quixote, Donna, lives a parallel life to the original, with 
Sandy. There are actual hand-made puppets. The puppet 
show is a myth, as it is in the original The Adventures of 
Don Quixote. This myth is the Don Quixote story itself, 
updated. Fractured Tract and Herstory-History Series, 
miscellaneous media including water color and inks, 
collage, and found objects, hand-made paper puppets. 
Part one is as the "lost notebook," found, an analysis of 
Cervantes' method. Part two is a large redramatization of 
Quixote's dilemma, a recreation of the original story, a 
drama puppet stage/book. There is also a flip book 
addendum showing the motion of the puppets, three 
small books, and a small box with tiny found objects for 
the puppet stage. The viewer/reader is the puppeteer. 
Complex, very close to the inspiration, fun and satire, 
intricate, and colorful, this grand work is on 



unusual 
hand- 
made 
paper 
created 
b y 

Sandbar 
Willow 
Press 
(Chuck 
Welch). 



About this piece: Cascio, Lynne. "A bookwork artist 
tackles the story of Don Quixote." Gannet Suburban 
Newspapers, Sunday, January 26, 1992, Section F, pages 
1 and 6. Color and black and white photos. See this piece 
at: <http://colophon.com/gallery/cba/exhibit.html> 

Moment by Moment Messages. 

One-of-a-kind, 1995. 

A sculpturebook approximately 1 1 inches by 12 inches by 
14 inches high open. In parts it fits into its folder cover. 
Watercolor and gauche, and other mark-making 
media on cut-out boards that can be rearranged in a 
variety of configurations. Text gleaned from a local art 
newsletter. Base hand-made paper by Chuck Welch. 
Made for Ruth Laxson's show at Atlanta's Bath House, 
at her invitation for a visual poetry work related to 
everyday world. Another group exhibition is 1997 
Imagenations-Eyerhymes, Fine Arts Building Gallery, 
University of Alberta, Edmonton, Canada. 




Part of The Wet Weather Car Ride Series. The theme 
started in 1992, Ennui-stress, winter and summer 
weather interacts with windshield wipers, faucets, taps 
and visual poetry, as the rider dozes. Sometimes stressful, 
occasional tedious, often abstract, car/life is on the road, 
traveled. Sold, private collection. 

The second, a visual/verbal puzzle emblem, Rumble- 
Strips, 1994 (created for "The Art of the Emblem" 
exhibition at Yale University, 1995). It looks like a small 
rain splashed, full color street sign with graffiti. The 
similar black and white twin is page one of the third 
series. Xerolage #25. 
Shadowland. 
Master/Original, 1995. 

This work can be hung from the ceiling or can be put 
on a wall (but then only one side will be seen). When 
fully open, hanging more than 9'/2 feet long and 11 
inches wide, the bookwork becomes two roadways, one 
on each side. All of the road is experienced 
simultaneously from afar. Viewing is bottom up, street to 
sky. When read as a book, in hand, it is from top down, 
reverse and top down again. Wet weather fights with 
windshield wipers, sprinklers, taps, other water devices 
and visual poetry. Sometimes angry, occasionally 
confusing, car/life continues on the road, with signs and 
cautions flashing by. 

The hard cover, 52 accordion pages, made of scraps 
of papers cut from the accumulated residue of other 
works, are trimmed into Rumble- Strips. Pages are 
painted, drawn with pencils, watercolor and gauche, and 
found image collage. The strips, bumps, are made into 
accordion folded pages bound with bits of book cloth and 
odd pieces of peripheral vision. Two "seat belts" for 
securing to the ceiling and holding it closed in its own 
dust jacket box, are attached. 
Shadowlandshadowland. 
The Ricoh color edition started in 
1996. 

An accordion bookwork, 
slightly smaller than its master, 
but in many other ways like it. 
Each is in its own box and opens 
to approximately 9 feet long. The 
edition will be about 10. 

See this piece at 
<http://www.thing.net/~grist/ 
l&d/lighthom.htm> 

The mouse first appeared in 
Shadowland. It sat in a small 
space, waiting. 





Mouse House. 

One-of-a-kind. 1998. 
In a grey box 10% 
inches wide by 8 3 /4 
inches high and 
1/4 inches deep. 
Opens to fill 20 by 25 
by 18 inches. 

House Mouse, 
bookwork of cut out 
and collaged papers of 

multi vivid colors, by Canson, with some ink and plastic 
letters. One-of-a-kind with hard covers covered with 
multi-colored hand-made paper by Chuck Welch, given 
to the artist as a gift. Inside some of the same paper 
appears as part of the many fold outs; a pop-up book full 
of the mouse in positive and negative space. Loose mice 
and part of a house are part of the paper engineering. 
Many a see through mouse interacts with color. Playful 
and complex. Excerpts from Emily Dickinson's Book 1. 
Live-XLI. Remembrance ; Edna St. Vincent Millay's 
"Tender Buttons: Food." 

All photographs © Marilyn R. Rosenberg. 



Bruno Munari, 1907 - 1998 

Theo Gielen 
The Netherlands 

On the 30th of September, 1998, a few weeks before 
his ninetieth birthday, Bruno Munari died in Milano, 
Italy. Munari was considered to be one of the most 
inventive Italian designers Italy of this century. 

Although he was a learned graphic artist, and as such 
did, for example, advertisements for Olivetti in the 
thirties, his biggest fame came through his industrial 
designing. In 1 948 he founded with some other designers 
the "Movement for 
Concrete Art" (MAC) 
aiming to bring abstract 
art out of the studios of 
the artists to the objects 
for daily life. Doing so 
they laid the base for the 
school of Italian design 
that is still their 
trademark. Munari's 
world-famous ashtray 
"Cubo" was an early 

result of this endeavor and has been in production until 
this very moment. 




Munari also invented the so-called "negative-positive 
pictures" and started to make "useless machines." His 
theoretical ideas behind these machines as laid down in 
his article Manifesto del Macchinismo (1952), about a 
"civilization of the machine," appeared to be the 
beginning of kinetic art in the fifties. 

In 1954 Munari was honored with the first "Golden 
Compass," viewed as the Nobel Prize for industrial 
design. 

As early as 1945, Munari designed for the publishing 
house of Mondadori a series of very modern innovative 
children's novelty books, using flaps, die-cuts, and 
growing pages. From this original series of ten Italian 
books, Harvill Press (London) and World Publishing 
(Cleveland) brought out English trans-lations of, to my 
knowledge, eight of them from 1957 through 1959: 
Animals for sale; The birthday present; The elephant's 
wish; Georgie has lost his cap; The lorry driver; Tic, tac, 
and toe; What I'd like to be; and Who 's there? Open the 
door. Three of them were reprinted by Collins in 1980. 
All of these clearly show in their illustrations the 
graphical background of their maker. 

In 1949 he designed the first of his 'Libri Illegibili' 
(Unreadable Books) from which he did at least fifteen 
different ones. The books don't have any colors and with 
different shapes of the pages they are, in his own words, 
"visual stories that can be understood by following the 
threads of the visual discourses." In 1958 they brought 
him the Gold Medal of the Triennale Milano. 

The year 1956 brought another novelty book, Nella 
notte buia {In the dark of the night) in which he plays a 
printing game with light and darkness, using different 
kinds of paper, different sizes of pages and die-cuts. 
These techniques, used in their ultimate refinement, 
resulted in what has been said his best work and praised 
as a milestone in children's publishing, Nella nebbia di 
Milano (literally, In the mist of Milano). Published in 
1968 and a year later by the World Publishing Company 
in Cleveland, it was translated as The circus in the mist. 
The pages of this book are again in a variety of colors 
and textures, which themselves become part of the art - 
with holes cut to reveal images of subsequent pages and 
translucent sheets giving the effect of real mist, layered 
in such a way that turning the pages gives the illusion of 
lifting mist, showing at first some vague traffic lights and 
ending in a feast of colors in a circus performance. The 
secret of this ending was unfortunately given away in the 
title of the English translation. This book, now a rarity, 
is pictured extensively in Yokoyama's The best of 3-D 
books. 



Finally we have to pay tribute to another novelty, 
published in 1980, 1 prelibri (The pre-book), kind of a 
mini-library holding in a large quarto binding with 
plastic sleeves, twelve little books of paper, of card, 




cardboard, wood, cloth, wettex, flisellina, transparent 
plastic; each with a different binding. Without text again 
and meant for "play reading." Munari himself described 
the book as, "You'll have a whole bookcase full, little 
books made of many different kinds of materials. A book 
of optics, a book of tactile adventures, a book of 
geometry, one on gymnastics, a book of natural history, 
a book of philosophy, a love story, a book for all the 
colors of the rainbow, a transparent book, a soft book, a 
science fiction book..." 

In 1974, Bruno Munari was honored for all his 
children's books with the prestigious Hans Christian 
Andersen Award, recognized internationally as the Nobel 
Prize of ch i ldren ' s 1 iterature (writing and/or i 1 lustrat ing). 

He died in Milano where he had lived since 1936 
with his wife, Dilma. Leaving to us examples of beautiful 
industrial design which many of us will have in our 
homes without realizing they are Munari's, and the 
marvels of his novelty books that will be treasured in our 
collections because of their highly artistic values. 

Note: The circus in the mist, with an English translation 
by Isobel Butters Caleffi, was issued by Corraini Editore 
in 1996. The ISBN for that edition is 88-86250-39-8. 



New Publications 

Journey into space: A giant pop-up, fold-out book to 
read and display! Candlewick Press. IV2 x 16 inches 
closed. Opens to a 48 inch wall chart. $17.99. 
0-7636-0869-6. 

The once upon a time map book. Candlewick Press. 
6 x 12 inches. 16 pages. One pop-up. $14.99. 
0-7636-0076-8. 



Here, Kitty, Kitty 

Ellen G.K. Rubin ; 

Scarsdale, New York 

Attention cat owners! Your feline friend is sitting on 
a miracle cleanser of books! Kitty litter! Yes, cat litter! 
I've proved it. I happened upon a suggestion in an 
antique weekly newsletter to use cat litter to deodorize 
old books. Being an avid antiquarian book collector, I 
usually associate the smell of old books with pleasure. 
Until recently, I did not have the occasion, let alone the 
thought, to deodorize a book. But then the necessity 
arose. 

Through a catalog, I purchased a Blue Ribbon (1934) 
Little Red Ridinghood "pop-up" book. It was in very fine 
condition, as described. But what was surely lacking 
from the description, was the book's smell. There was no 
doubt the book had been rescued (phew!) from a fire; it 
had that strong acrid smell of smoke (phooey!). Here was 
another opportunity for an experiment. (See Movable 
Stationery Vol. 5 No.4 "Step Right Up!") I had been 
successful (read lucky) with the TidyPen and hoped my 
luck would hold out attempting to use kitty litter to rid 
this book of its most unpleasant odor. Not owning a cat, 
I borrowed the kitty litter from a neighbor. (Can't you 
just see me, container in hand, "May I borrow a cup of 
cat litter, please?") 

Using a large zip-lock bag, I put the kitty litter in with 
the book, shaking carefully to bring it into as much 
contact with the paper as possible. The bag was sealed 
and put in my garage. The next day, I removed the book 
for a test whiff. Most of the smell of was gone. Best of 
all, the litter's contact with the book had done no damage 
to the paper, something I was most anxious about. 
Ignoring the maxim, "The enemy of good is better," I put 
the book back into the bag, this time carefully shaking 
the litter into the crevices of the spine where the odor 
was strongest. I hoped one more day would get rid of the 
rest of the smell. I still was anxious about a longer 
proximity of litter on paper. Well, I experienced an 
extended "senior moment" and forgot about the project. 
A week later (!), I rediscovered the bag. No damage to 
the book (whew!) and the smell was totally gone. In fact, 
it now had a slightly aromatic scent. There was no 
problem shaking the litter from the spine and movables, 
another anxiety of mine. 

Conclusion? One can buy smelly books with 
impunity. But if you don't have a cat, make friends with 
a neighbor who has one. 



SMITHSONIAN INSTITUTION LIBRARIES 




3 9088 01629 2872 



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